Author Archives: pj

About pj

Now (mostly) retired, I'm pursing electronics and computing just for the fun of it! I'm a computer scientist and engineer who has worked for AMD, Hewlett Packard and Siemens. I also taught hardware and software development at Case Western Reserve University, Tufts University and Princeton. Hopefully, you will find the information on this site to be helpful. Educators and students are particularly welcome!

MODX aftermath

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After a veritable explosion of Yamaha MODX information on the Web, there isn’t too much new to say! One useful tidbit is MODX availability. Yamaha expect MODX to be available at retailers around September 27. Another tidbit is to download the MODX version 1.10 updater from the Yamaha support site, if you need it.

Folks shouldn’t forget the John Melas Montage/MODX tool set. Amidst all of the hoopla, John quietly released an updated tool set with MODX support. This is good news since it provides a MODX librarian, performance editor, Live Set editor and waveform editor — available separately or bundled. (Please see his Web site for details.)

I watched a little bit of the MODX launch live stream — enough to be duly impressed by DOMi. What a player! Her demo made a good background while I pulled together another donation to LIVING COMPUTERS: museum + labs. One take-away — it’s a long reach to the MODX8 PB/MOD wheels. The engineers needed the extra depth to accommodate the weighted keyboard action. Folks interested in the 88-key model should take this into account.

On Saturday, I spent an hour or so watching demo videos. For my purposes, the video by Blake Angelos (Yamaha) for Guitar Center is the best. He showed how to pull together an orchestral layer with Super Knob control. This is information that I can use. Thanks, Blake! Yamaha have really kept him running with the MODX launch.

Even though emphasis is on EDM and other pop — which pays the bills at Yamaha — there are very fine orchestral instruments hiding in plain sight on the Montage and MODX. In this regard, the Montage/MODX and Genos™ share sonic DNA by way of the underlying waveforms (AKA “the samples”). The separate product lines employ the waveforms in different ways (Extended Articulation versus Super Articulation), but the sound quality is amazing overall. Having worked with Genos over several months, it’s like an orchestral VST in a box, completed with scripted, articulated voices. Quite pleased.

I have such regard for the Montage acoustic instruments that I very seriously considered buying a Montage for my church gig. I passed mainly due to the weight and schlep factor. The MODX6 is a slender 14.6 pounds, a bit less than the MOX6 that I now transport and play. The MODX is a contender.

While evaluating Montage, I listed the new waveforms added to Motif XF and the new waveforms added to Montage. I was trying to decide if it made sense to upgrade to Motif XF on close-out or to go for Montage. [I decided to wait.] I’ll be using these tables, again, to compare MODX versus MOX because the MODX has the same waveforms and performances (voices) as Montage. Frankly, I don’t think there’s much question about “if”, so much as “when” to upgrade from MOX.

These are highly technical instruments. As a user, the Genos user interface (UI) is similar enough to the Tyros/PSR UI that I didn’t much too trouble making the transition from S950 to Genos. The transition from MOX to MODX is going to be a much bigger task, especially since I want to take advantage of scenes and macro control (AKA “the Super Knob”). Fortunately, the MODX UI is essentially the same as the Montage v2.5 UI and Yamaha have provided a fair number of “Mastering MODX” videos and resources on Day 1.

Copyright © 2018 Paul J. Drongowski

Yamaha MODX announcement

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I’m going to update this page as information rolls out.

The Yamaha MODX Owner’s Manual is now available in the Yamaha manual library. No Data List PDF (yet). Once we have the Data List, we’ll be able to do a better comparison of effect types versus the Montage. Yamaha added a number of effect algorithms through updates and, of course, we’re hoping that the MODX will have the same arsenal.

After taking a quick side-by-side pass through the MODX Owner’s Manual, it’s clear that the MODX has much of the on-screen Montage user interface. The MODX and Montage code base is now the same and this should help Yamaha to swat bugs on both platforms and to reduce internal software development costs.

New to the MODX user interface are Rhythm Patterns. Quoting the MODX Owner’s Manual:

The [Rhythm Pattern] button provides a simple way to add a rhythm part to the current Performance. By combining rhythm patterns and the Envelope Follower, you can modify the patterns even further.

Use this button to call up the Rhythm Pattern display. You select the Rhythm Pattern you want to use, and then press [PERFORMANCE (HOME)] button or [EXIT] button to set the selection.

Seems to be a way to get a beat going quickly and is an enhancement of the existing arpeggio mechanism. [Click image to enlarge.]

Rest assured. There is a performance recorder/sequencer which is the (nearly) the same as Montage (MODX: 128 songs, Montage: 64 songs). Lack of a full sequencer (a la Motif/MOX) will disappoint some. I intend to keep my MOX6 and trusty QY-70.

The on-screen Live Set operation is identical to Montage. As noted before, the MODX drops the extensive bank of front panel buttons on the Montage. The Montage’s physical buttons mirrored the operation of the Live Set on-screen buttons, etc. I’ll have to try switching patches on-the-fly using the touch screen alone to determine if this is an acceptable compromise for me. I rely on quick changes when I play and I don’t always know in advance what voice I’ll be using. I’m an improvisational orchestrator.

Also as noted earlier, there are four sliders instead of eight. Front panel buttons select between part group 1 to 4 and group 5 to 8 in order to control part volume via the sliders. Again, some operational compromises due to cost saving as there are fewer direct access controls on the MODX. The MODX also has fewer SHIFT functions due to the elimination of the Montage’s front panel button matrix.

On-line retailers are beginning to offer the MODX on pre-order. Yamaha is going to sell a lot of these!

USA pricing table:

MODX6 MODX7 MODX8
MSRP (list) $1,649 USD $1,899 USD $2,399 USD
MAP (street) $1,299 USD $1,499 USD $1,899 USD
Weight 14.6 pounds 16.3 pounds 30.4 pounds

Yamaha MODX vs. Montage table:

Feature MODX Montage
Display 7″ WVGA color TFT 7″ WVGA color TFT
AWM2 poly 128 128
FM-X poly 64 128
SSS 4 parts 8 parts
Faders 4 8
Encoders 4 8
Buttons 4 8
Ribbon No Yes
USB audio in 4 channels (2 stereo) 6 channels (3 stereo)
USB audio out 10 channels (5 stereo) 16 channels
Sampling frequency 44.1kHz Up to 192kHz
ADC inputs 2 2
Dual insert effects 12 parts+A/D 16 parts+A/D
Waveforms 6,347 6,347
Waveform ROM 5.67GB 5.67GB
Flash ROM 1.00GB 1.75GB
User Performances 640 640
Library Performances 5,120 5,120
Scenes 8 per Perf
Arpeggios 10,239 10,000+
Simultaneous Arps 8 8
Perf Rec Songs 128 64
MIDI IN,OUT IN,OUT,THRU
Output Unbalanced Balanced
Keyboard Synth FSX
Aftertouch No Yes
Weight 61-key 14.6 pounds 33.1 pounds

Copyright © 2018 Paul J. Drongowski

Yamaha MODX audio demos

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The folks at AudioFanzine.com have posted 40 audio snippets demonstrating the new Yamaha MODX synthesizer. Merci beaucoup, AudioFanzine.com!

Pretty much sounds like a Montage! Strings, horns, brass, organ — I can’t hear much difference from the Montage.

I love the woodwind demo. Nicely played with a contemporary cinematic flair. Très bon!

Having spent a lot of time with Genos™, I feel that the Montage — and now Yamaha MODX — electric pianos have more guts. I can’t wait to dive into the programming of these voices and hope to beef up the Genos EPs. Ditto the B3 organ and clavs.

Owning both a Yamaha synth and a Yamaha arranger has proven to be a good practical strategy for voice and style development. I can explore voice programming on the synth and then translate the same programming (modulo limitations in Yamaha Expansion Manager) to the Genos. It works in the reverse direction, too. Some of the arranger programming is inspirational and I can translate it back to the synth. Always steal from the best!

If you’re considering an upgrade from MOX or MOXF, you should check out my analysis of the new waveforms in Montage. The Yamaha MODX has the same factory waveforms as the Montage and this analysis should help you to decide. Whether it’s Yamaha, Roland, Korg, etc., the waveforms are the basis for current and future sounds.

Copyright © 2018 Paul J. Drongowski

Yamaha MODX: A few more details

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A few more pre-announcement details are coming out about the new Yamaha MODX synthesizer. Official prices will be announced tomorrow.

MODX6 MODX7 MODX8
Price 1,399€ 1,599€ 1,799€
Weight 6.6kg 7.4kg 13.8kg

For ‘mercans, that’s:

MODX6 MODX7 MODX8
MSRP (list) $1,649 USD $1,899 USD $2,399 USD
MAP (street) $1,299 USD $1,499 USD $1,899 USD
Weight 14.6 pounds 16.3 pounds 30.4 pounds

The current MOXF6 and MOXF8 weigh 15.6 pounds and 32.8 pounds, respectively. Nice to see a weight reduction.

The current MSRPs for the MOXF6 and MOXF8 are $1,499 and $1,999. So, we’re probably lookin’ at a slight price increase. At least we won’t have to purchase add-on flash memory boards.

Speaking of which, the Yamaha flash expansion boards are now totally dead end. If you’re negotiating for a MOXF, be sure to get your retailer to kick in a flash expansion board or two. Just sayin’.

The MODX Owner’s Manual is now available in the Yamaha manual library. Check your regional site.

Roland Drops a Keytar

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I’m sure you’ve seen it elsewhere by now…

Special thanks to the chap who posted this image on Gearslutz!

9 pounds, eh? I’m still trying to get rid of my Les Paul copy. Too old for this… 🙂

I did have a chance to check the Roland Juno DS line. Nice mid-range product and can operate on batteries. I’m full up on Roland, so I’ll be passing it by. If you’re looking for a mid-range ‘board, give it a listen. The DS is respectable.

Yamaha MODX pictures

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There are some very nice pictures of the new Yamaha MODX on AudioFanzine.com. Good close-ups of the front panel and screen.

Here’s a few additional thoughts to go along with my earlier comments about the Yamaha MODX.

Yamaha have moved the pitch bend wheel, modulation wheel and assignable buttons to the upper left. The MOX/MOXF places these controls just to the left of the keybed. Some users, including me, are not happy with the MODX placement. I use the assignable buttons quite a bit, especially for fast, one button changes to a patch. By fast, I mean très fast. My left hand holds down bass and taking my left hand off the keyboard creates a big sonic hole. Not happy.

I’m glad, as usual, to see transpose on the front panel. You never know when your singer is going to call for a last-second key change. Yeah, I know that I should be able to do that with head and hands… There’s enough stress at the gig already.

The pictures at Audio Fanzine remind me of the Montage Live Set feature. A Live Set is a group of sixteen performances arranged as a 4-by-4 grid of on-screen buttons. The buttons are big enough to poke while playing. I may not have to select a new patch via scene buttons as I originally thought. I guess we’re going to find out how big the buttons really are and how accurate I am as a poker.

By the way, if you want further insight into my thinking, check out my MOX6 Retrospective.

Copyright © 2018 Paul J. Drongowski

Korg EK-50: Meh

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As I mentioned in my last post, both Roland and Yamaha have new product announcements and events scheduled for this week (September 13 and September 14, respectively). No Roland rumors to far, but there was a slip uncovering the Yamaha MODX.

The holiday sales musical instrument sales season seems to have come early this year, with Korg revealing the EK-50 Entertainer Keyboard.

When I first saw the EK-50 on Musicradar, I was intrigued. Here would be Korg’s entry into the $400 USD and under, entry-level arranger market. The first YouTube videos dashed that hope. I still cannot flush the sound of this thing from my ears.

The EK-50 is a sonic stink bomb. The voices and styles are horrible. If you read the articles on this site, you’ll know that I’m pro-arranger as well as pro-synth. So, my opinion is not pre-biased against arrangers. I’m not biased against Korg, either. At any given time, you’ll find either a MicroKorg XL+ or Triton Taktile right next to my main PC. You never know when you’ll need to noodle or learn a new tune while playing with an on-line track. I’ve also dipped into the entry-level with the Yamaha PSR-E443 — no illusions about buying a Genos™ for $400. I even gave the Roland GO:KEYS an honest trial.

I do not get equipment for review from manufacturers. I do this with my hard-earned cash, like you.

Korg say that the EK-50 is not an arranger. It’s an “Entertainer Keyboard.” News for Korg, if it quacks like a duck and plays like a duck, it’s a duck. I’ll bet that Korg marketing knows that the EK-50 is a sonic dud and doesn’t want shade thrown on the well-regarded Pa professional arranger line of keyboards.

I would like to see more innovation at the entry level. Even though I had issues with the GO:KEYS keybed, I have to give props to Roland for the GO:KEYS sound engine and phrase-based approach to backing. Let’s see more of that instead of warmed over styles from yesteryear with the occasional, gratuitous EDM loop thrown in.

Sometimes, you gotta know when to kill a product.

Copyright © Paul J. Drongowski

Yamaha MODX vs. Montage

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I’m pretty well convinced that the Yamaha MODX leak is legitimate.

BTW, I think Yamaha will pronounce the name “MO D X” to reflect a continuation of the MO heritage and to emphasize the FM-X technology by recalling the DX synth line.

Here’s a quick table comparing MODX versus Montage. There are still a few blanks in the table which need to be filled out.

Feature MODX Montage
Display 7″ WVGA color TFT 7″ WVGA color TFT
AWM2 poly 128 128
FM-X poly 64 128
SSS 4 parts 8 parts
Faders 4 8
Encoders 4 8
Buttons 4 8
Ribbon No Yes
USB audio in 4 channels (2 stereo) 6 channels (3 stereo)
USB audio out 10 channels (5 stereo) 16 channels
Sampling frequency 44.1kHz Up to 192kHz
ADC inputs 2 2
Dual insert effects 12 parts+A/D 16 parts+A/D
Waveforms 6,347 6,347
Waveform ROM 5.67GB 5.67GB
Flash ROM 1.00GB 1.75GB
User Performances 640 640
Library Performances 5,120 5,120
Scenes 8 per Perf
Arpeggios 10,239 10,000+
Simult Arp 8
MIDI IN,OUT IN,OUT,THRU
Output Unbalanced Balanced
Keyboard Synth FSX
Aftertouch No Yes
Weight 61-key 14.6 pounds 33.1 pounds

Of course, the important question is, “How much of the Montage did Yamaha leave out?”

First, let me say, you do get a lot. The MODX has full fat waveforms, arpeggios and performances (including voices in the flat Yamaha user interface world). Having heard and played the Full Monty, I will definitely be looking at the MODX to replace my MOX6, especially if the MODX6 weighs in at roughly the same weight.

There have always been differences between the top-of-the-line (TOTL) synth and its mid-range brother. The Montage has a metal chassis, balanced outputs, internal power supply (AKA “AC power”) and an FSX keybed with aftertouch. Therefore, I expected a plastic chassis, unbalanced outputs, external power supply and a synth action (61-key model) without aftertouch. Given the history of the MO product line, one could also expect fewer sliders, knobs and buttons. I’m glad to see the return of sliders, by the way. The plastic case of the MOX6 has held up rather well and usually guitars walk away worse for wear when they collide with the MOX6!

At this price point, I wouldn’t expect Pure Analog Circuit (PAC) audio either. I’m still a little surprised that the Genos offers TOSlink in place of PAC, BTW.

Thankfully, Yamaha did not skimp on the display. It’s the same 7″ wide VGA color TFT. I suspect that the Montage and MOXD share the same software code base, which was not true of the Motif XS/XF and the MOX/MOXF. The MODX has the same number of user and library performances. All of this parity is great news for the end user.

The MODX audio spec is cut down from the Montage. I expected this, too, knowing about the internal architecture of the Montage. The Montage has a dedicated SSP2 integrated circuit (IC) for audio routing and USB interface. This is like having a Steinberg UR44+ in the guts of your studio synthesizer. Thus, the MODX (probably without the SSP2) has fewer USB audio input and output channels. Although the leak doesn’t reveal the sampling rate, I doubt if the MODX will do 192kHz. [I wouldn’t mind being wrong about this doubt.]

The leaked write-up suggests that the MODX has the same effect algorithms as the Montage. The number of dual insert effects is lower in the MODX: 12 parts plus A/D input versus the Montage’s 16 parts plus A/D input.

I suspect that the number of parts per performance has been reduced from sixteen to eight. The front panel buttons provide access to eight elements (as expected with AWM2) or eight parts. Seamless Sound Switching (SSS) is supported for performances with up to 4 parts (versus 8 Montage parts). Take this speculation with a grain of salt as it’s trying to read between the lines of the write-up.

It is true, however, that the four sliders, encoder knobs and buttons are shared across eight parts or elements. Each control type has a button to select between group 1 to 4 and group 5 to 8.

  • With four sliders, don’t expect to go all “Hammond” with drawbars.
  • With four immediately accessible scenes (i.e., without making two button presses under live fire), don’t expect to jump across more than four voices on the fly.

The second concern is a serious one because Yamaha ditched a whole raft of buttons from the right hand side of the front panel (cost saving!) I currently rely on the MOX buttons to select among sixteen voices on the fly. This is important to me because I’m holding down bass and melody lines with our trio. I must make fast patch changes or something gets dropped musically.

The only place where I feel like Yamaha gratuitously tiered the Montage over the MODX is expansion flash memory. The expansion flash memory is the left over flash ROM capacity beyond the factory sound set. Trust me, Yamaha is not saving money by cutting this spec — it is a marketing decision.

There is so much yet to learn about the MODX. I’m hoping that Yamaha retained the deep performance (voice) editing from the Montage. The leaked write-up does not mention a “performance recorder,” so this is a total blank spot, too. Pricing for all models is yet known. Yamaha may sell the MODX at a premium versus the MOXF until the old MOXF stock is sold.

At this stage, I’m quite pleased. My MOX is going strong and makes it to the gig every Sunday. However, I have tasted the future with Genos™ and look forward to trying the Yamaha MODX.

Copyright © 2018 Paul J. Drongowski

Do you question?

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The latest hot rumor. Do you question whether this is real or a hoax? An on-line retailer is running the text below with a price of 1,399 British pounds for the 76-key model. The Keyboard Magazine Forum has a picture of a 61-key model. Real or not?

I’ll post more thoughts later. I’ve gotta gig in an hour…

[Update: Please see my MODX vs. Montage comparison.]

[Previous update: Very likely real. Amazon accidentally posted a page for an 88-key model. The page is no longer active.]

AWM2 Synthesis Engine and FM-X Technology

The AWM2 acts as the heart of the synthesizer. The AWM2 (Advanced Wave Memory) synthesis engine is exclusive to Yamaha synthesizers, renowned for its versatility and sound design capabilities. The AWM2 provides processes both samples and synth sounds, providing ultra-realistic emulation of acoustic instruments, digital sounds and drums.

The FM-X (Frequency Modulation) section provides unique and expressive ways to create synth sounds. The highly-programmable technology provides the means for dynamic, electro-modern music creation. It can create everything from 80s synth sounds to cutting-edge EDM leads. The unique technology provides an 8-operator FM architecture with 64-note polyphony and a wide variety of filter types.

Semi-Weighted Keybed and Versatile Performance Controls

The MODX7 features a 76-note semi-weighted keybed, providing fluid playability. The semi-weighted keys provide added expression, emulating the feel of a traditional piano. The AWM2 engine delivers 128-note [?] polyphony and 64-notes of FM-X polyphony, opening up a new world of possibilities for creating sounds.

A wide range of performance controls are included, ideal for live sets and for use with music production. Empower your creativity with versatile controls for virtually every parameter.

The Super Knob is a highly unique control, acting as a virtual conductor for your music. It directs individual dynamic elements into a signal control. It provides simultaneous control of up to 128 parameters within a single performance. This gives you the ability to mix functions such as Volume, Pan, Effect and other parameters such as Filters, LFOs and more.

Four additional faders and encoders are included. These can be assigned to different functions and used for hands-on control of settings. Between each slider (fader) is a Scene button, It features eight Scenes which can be for different assignments such as Motion Sequence, Arpeggio Select number and even complete mixing. A range of transport controls are included, as well as a modulation and pitch wheel.

Integrated Premium-Grade Effects

A wide range of premium-grade effects are included for adding flare to your sounds. From high-definition Reverbs to Virtual Circuit Modelling effects, the powerful DSP engine delivers unparalleled audio fidelity and performance.

The effects range from standard delays and compressores to cutting-edge effects such as Beat Repeat, Vinyl Break or Bit Crusher. The specialised Spiralizer effect creating the sonic illusion of a tone rising or falling in pitch. There is even a Compression with a sidechain, allowing you to achieve the modern-day ducking effect.

Built-In USB Audio Interface

Aiding modern-day computer-based production, the MODX7 features an integrated 2-in/10-out multi-channel USB audio interface. The high-grade interface is coupled with two A/D inputs, making the MODX the perfect choice as a centrepiece in any studio or live setup. It provides single-cable connectivity, and even works with your favourite iOS device.

Envelope Follower and Motion Sequences

The Envelope Follower converts audio into a control source for virtually any synth parameter. For example you can use a drum loop to drive an effects parameter for a unique rhythm and/or vocal recording.

Motion Sequences give you the ability to create tempo-synchronised sequences which can be assigned to any parameter. This opens up new way to control rhythms and sound. It also features dedicated controls on the front-panel, allowing for real-time manipulation.

Ergonomic, Lightweight and Portable

The sleek and streamlined design is highly portable, making it ideal for live performances and studio sessions. The ergonomic layout is split into various sections allowing you to easily navigate between parameters, settings and sounds. The large LCD touch-screen provides a hands-on approach to accessing sounds and files. The Waveform-Rom of the synthesizer has been expanded from 741MB to 5.67GB. It also provides Seamless Sound Switching (SSS) for performances with up to four parts.

The compact and lightweight design makes it easy to transport. A dedicated transport case is available for the MODX, so you can transport your synth with maximum protection and comfort. The rear of the synth features a variety of connections. A foot switch/sustain output is available for incorporating expression pedals. There are also connections available for A/D input, as well as USB connectivity for USB to Device and USB to Host.

Features

  • AWM2 (Advanced Wave Memory 2) sample and synthesis engine
  • 76-note semi-weighted keybed for fluid playability
  • Unparalleled sonic versatility for creating sounds from iconic 80s sounds to modern-day EDM cutting-edge leads
  • Integrated performance controls include faders and encoders for in-depth control over parameters
  • Ideal for both studio and stage use
  • FM-X Synth Engine
  • LCD-Touchscreen 7″-Colour-Wide-VGA-TFT
  • Waveform-ROM expanded from 741 MB to 5.67 GB
  • 2,370 new Waveforms, 6,347 total in ROM
  • 1 GB Flash-ROM built-in
  • Ca. 2,000 preset performances
  • 640 user performances
  • 5,120 library performances
  • Seamless Sound Switching “SSS” for Performances with up to four Parts
  • 13 dual insert effects (12 Parts + A/D Input)
  • Over 256 preset live set slots, 2,048 User & 2,048 library live set slots
  • 10,239 arpeggios
  • Eight arpeggio Parts simultaneously
  • Eight Scenes per Performance
  • Master keyboard functions for each Performance
  • Multichannel USB Audio Interface, 2-in/10-out